牆隔神農—第三種農閒
繼「治本於辳(農)」與「陳明福」個展,用藝術跟鼠仔(祖父陳明福的綽號)一起下田之後,趁農閒之餘,才有機會離開農地,看看農地以外的四周。無論緬懷還是遺忘,直接面對不可回溯的存在,分享一種無可名狀,一直是我的創作狀態與作品核心。
很多人聽過仁武、楠梓、燕巢與大樹,但卻不知道上述這些地點,所圍繞的正是大社。青雲宮位在大社神農里,主祀神農大帝,過去是大社務農居民重要的地方信仰,即使現在務農人口減少,產業結構改變,仍然香火鼎盛。由南往北前往大社,有一條當地人才熟悉的捷徑,這是一條環繞仁大工業區的產業道路,寬敞筆直,沿途經過廠房,可以看見牛隻在綠美化的外圍吃草;這裡有一道牆,高度足以遮蔽廠區,只剩至高的煙囪頂,這道隔音牆於九年前竣工,是工廠發生意外後的亡羊補牢,「牆隔神農」的展覽亦由此發想。
欲望可以串起無關的人事物,我將目光放在日常遭逢的邊界與矛盾上,人與神的依存,工業與農業的並置,健康生活的條件與勤奮工作的目的,甚至是愜意與不安的雜捻⋯⋯與危機相伴的生活並不困難,因為對多數人來說,生存比生活更重要。工藝是我叩問當代藝術與勞動生產的方法,牆隔神農隔出兩種農閒,一種是農事將盡的閒暇,一種是捨棄農事的農閒,希望透過創作,在展覽中實踐第三種農閒。
繼「治本於辳(農)」與「陳明福」個展,用藝術跟鼠仔(祖父陳明福的綽號)一起下田之後,趁農閒之餘,才有機會離開農地,看看農地以外的四周。無論緬懷還是遺忘,直接面對不可回溯的存在,分享一種無可名狀,一直是我的創作狀態與作品核心。
很多人聽過仁武、楠梓、燕巢與大樹,但卻不知道上述這些地點,所圍繞的正是大社。青雲宮位在大社神農里,主祀神農大帝,過去是大社務農居民重要的地方信仰,即使現在務農人口減少,產業結構改變,仍然香火鼎盛。由南往北前往大社,有一條當地人才熟悉的捷徑,這是一條環繞仁大工業區的產業道路,寬敞筆直,沿途經過廠房,可以看見牛隻在綠美化的外圍吃草;這裡有一道牆,高度足以遮蔽廠區,只剩至高的煙囪頂,這道隔音牆於九年前竣工,是工廠發生意外後的亡羊補牢,「牆隔神農」的展覽亦由此發想。
欲望可以串起無關的人事物,我將目光放在日常遭逢的邊界與矛盾上,人與神的依存,工業與農業的並置,健康生活的條件與勤奮工作的目的,甚至是愜意與不安的雜捻⋯⋯與危機相伴的生活並不困難,因為對多數人來說,生存比生活更重要。工藝是我叩問當代藝術與勞動生產的方法,牆隔神農隔出兩種農閒,一種是農事將盡的閒暇,一種是捨棄農事的農閒,希望透過創作,在展覽中實踐第三種農閒。
After the Explosion-- The Third Kind of Slack Farming.
Following my “Green & Gray (Agriculture)” and “The Last Farm Boy” solo exhibitions, I farm with Shu-zi (my grandfather Chen Ming-fu's nickname) from the perspective of art. It is only during moments of free time that I get to look around the farmland. Whether reminiscing or forgetting, directly confronting a foregone existence or sharing the unremarkable, these inspirations have always been the core of my creative state and work.
Many have heard of Renwu, Nanchao, Yanchao, and Dashu, but have no idea that these places enclose Dashe. The Chingyun Temple, located in Shennong (a god of agriculture in Chinese mythology) Village of Dashe District, is a place for worshipping the “Divine Farmer”. In the past, it was an important local belief among the farming community of Dashe. Even with today's declining agricultural population and changes in industrial structure, worship continues to flourish. A shortcut, familiar only to the locals, leads from the south northward toward Dashe. This industrial road circles the Renda Industrial Park. Broad and straight, it passes by the factories, where cows can be seen grazing on the green areas outside. A wall hides the plant areas, tall enough to leave only the tips of chimneys peeking through. Also serving as a noise barrier, this wall was completed nine years ago as a remedy after a plant accident. The exhibition, “After the Explosion”, was hence inspired.
Desire can connect people, affairs, and things that are unrelated. I look at boundaries and contradictions in everyday encounters: the mutual dependence between humans and deities, the juxtaposition of industry and agriculture, the conditions of healthy living and the purpose of hard work, and even the convolution of satisfaction and anxiety. Living alongside crisis is not difficult because, for most, survival is more important than living. For me, the craft is my way of examining contemporary art and labor production. “After the Explosion” distinguishes two kinds of farming slack. One is leisure after farming season is over; the other is leisure by abandoning farm work. Through this creation, I hope to fulfill the third kind of slack season in farming.
Following my “Green & Gray (Agriculture)” and “The Last Farm Boy” solo exhibitions, I farm with Shu-zi (my grandfather Chen Ming-fu's nickname) from the perspective of art. It is only during moments of free time that I get to look around the farmland. Whether reminiscing or forgetting, directly confronting a foregone existence or sharing the unremarkable, these inspirations have always been the core of my creative state and work.
Many have heard of Renwu, Nanchao, Yanchao, and Dashu, but have no idea that these places enclose Dashe. The Chingyun Temple, located in Shennong (a god of agriculture in Chinese mythology) Village of Dashe District, is a place for worshipping the “Divine Farmer”. In the past, it was an important local belief among the farming community of Dashe. Even with today's declining agricultural population and changes in industrial structure, worship continues to flourish. A shortcut, familiar only to the locals, leads from the south northward toward Dashe. This industrial road circles the Renda Industrial Park. Broad and straight, it passes by the factories, where cows can be seen grazing on the green areas outside. A wall hides the plant areas, tall enough to leave only the tips of chimneys peeking through. Also serving as a noise barrier, this wall was completed nine years ago as a remedy after a plant accident. The exhibition, “After the Explosion”, was hence inspired.
Desire can connect people, affairs, and things that are unrelated. I look at boundaries and contradictions in everyday encounters: the mutual dependence between humans and deities, the juxtaposition of industry and agriculture, the conditions of healthy living and the purpose of hard work, and even the convolution of satisfaction and anxiety. Living alongside crisis is not difficult because, for most, survival is more important than living. For me, the craft is my way of examining contemporary art and labor production. “After the Explosion” distinguishes two kinds of farming slack. One is leisure after farming season is over; the other is leisure by abandoning farm work. Through this creation, I hope to fulfill the third kind of slack season in farming.
牆隔神農-1988爆炸之後 After the Explosion
金屬蝕雕、不鏽鋼、屏風、胡桃木框、黃金榴原木貼皮
380x170cm|2019
金屬蝕雕、不鏽鋼、屏風、胡桃木框、黃金榴原木貼皮
380x170cm|2019
小清翫系列-月世界山景(棗子)/Small Playful Objects - The Moon World(Jujube)
陶瓷、繡線、水晶膠、碎石、胡桃木、折彎板、紫檀原木貼皮、黑柿木原木貼皮、 胡桃原木貼皮、鐵架、動力裝置/40x40x10cm|2019 |
小清翫系列-月世界山景(龍眼)/Small Playful Objects - The Moon World(Longan)
陶瓷、繡線、水晶膠、碎石、胡桃木、折彎板、紫檀原木貼皮、黑柿木原木貼皮、 胡桃原木貼皮、鐵架、動力裝置/40x40x10cm|2019 |
小清翫系列-月世界山景(芭樂)/ Small Playful Objects - The Moon World(Guava)
陶瓷、繡線、水晶膠、碎石、胡桃木、折彎板、紫檀原木貼皮、黑柿木原木貼皮、胡桃原木貼皮、鐵架、動力裝置
40x40x10cm|2019
陶瓷、繡線、水晶膠、碎石、胡桃木、折彎板、紫檀原木貼皮、黑柿木原木貼皮、胡桃原木貼皮、鐵架、動力裝置
40x40x10cm|2019
牆隔神農-大社路 Landscape or view ?-1
金屬蝕雕、不鏽鋼、胡桃木框、白橡木、老玻璃
75x75cm|2019
金屬蝕雕、不鏽鋼、胡桃木框、白橡木、老玻璃
75x75cm|2019
牆隔神農-水管路 Landscape or view ?-2
金屬蝕雕、不鏽鋼、胡桃木框、白橡木、老玻璃
75x75cm|2019
金屬蝕雕、不鏽鋼、胡桃木框、白橡木、老玻璃
75x75cm|2019
牆隔神農-1988爆炸之後 After the Explosion
金屬蝕雕、不鏽鋼、屏風、胡桃木框、黃金榴原木貼皮
380x170cm|2019
金屬蝕雕、不鏽鋼、屏風、胡桃木框、黃金榴原木貼皮
380x170cm|2019
耕而作陶(黑)Agriculture God (Black)
陶瓷|14x14x27cm|2019
陶瓷|14x14x27cm|2019
共生苗-儲存(金)/Symbiotic Seedlings- The Carrier (Gold)
陶瓷、金屬鍍金、鐵刀木、鐵架、動力裝置 20x20x125cm|2019 |
共生苗(金)/ Symbiotic Seedlings(Gold)
陶瓷、金屬鍍金、鐵刀木、鐵架、動力裝置 30x30x125cm|2019 |
耕而作陶(赤)/Agriculture God(Red)
陶瓷|14x14x27cm|2019
陶瓷|14x14x27cm|2019